Orpheus in the Underworld | operetta by Offenbach | Britannica.com Orpheus in the Underworld Alternative Title: “Orphée aux enfers” Related Topics Listen: Offenbach, Jacques: Orpheus in the Underworld The overture to Jacques Offenbach’s Orpheus in the Underworld (1858). Orpheus in the Underworld, French Orphée aux enfers, comic operetta by French composer Jacques Offenbach (French libretto by Hector Crémieux and Ludovic Halévy ), a satirical treatment of the ancient Greek myth of Orpheus . It premiered on October 21, 1858, at the Théâtre des Bouffes-Parisiens in Paris . The work’s best-known music is the cancan that appears in the overture and the final scene. The work was originally structured in two acts, though Offenbach later expanded it into four acts. Background and context The classic story of Orpheus concerns a renowned musician who is so distraught over the death of his wife, Eurydice , that he attempts to rescue her from the Underworld, the place of the dead.

This tragic tale was adapted for opera by many composers, including Claudio Monteverdi (written and first performed 1607), Christoph Gluck (first performed 1762, later revised), and Joseph Haydn (written 1791, first performed 1951). Jacques Offenbach. © Photos.com/Jupiterimages Unlike the other composers, Offenbach gave the story a farcical twist. In his version Orpheus and Eurydice, though married to each other, are amicably living separate lives, each blissfully occupied with a new lover. Like Eurydice in the original Greek story, Offenbach’s heroine is fatally bitten by a snake , but, rather than dying tragically, she willingly relocates to the Underworld to be with Pluto —the ruler of the Underworld—who in a mortal form had become her lover while she was alive. In Offenbach’s version Orpheus acts to retrieve Eurydice much against his will. Both he and Eurydice are pleased when his attempt fails.

Offenbach was equally irreverent in terms of music, pairing courtly minuets with high-kicking cancans and quoting satirically from Gluck’s earlier opera. When Offenbach’s opera premiered, critics expressed shock, both because it mocked Gluck’s revered telling of the tale and because it dismissed the idea of the perfection of ancient Greece . Audiences, however, loved it, and within a few years Orpheus in the Underworld became an international success. So marked was the opera’s fame, and so lasting, that in 1886 Camille Saint-Saëns satirized the satire by quoting the finale’s cancan at a much slower tempo and assigning it to tortoises in The Carnival of the Animals (1886). Similar Topics Der Ring des Nibelungen Of the famed overture, it should be noted that at the time of the operetta’s Parisian premiere, there was no full overture, only a brief prelude . The French preferred their operas that way. Once Offenbach’s work achieved international fame, a more substantial overture was demanded, particularly by German theatres.

So an overture was provided, one that made prominent use of the operetta’s best music, most obviously the concluding cancan. The overture rapidly gained popularity on its own account, and it remains a favourite piece for orchestral pops concerts. Main cast and vocal parts Eurydice, wife of Orpheus (soprano) Pluto, god of the Underworld and Eurydice’s lover (tenor) Juno , wife of Jupiter (soprano) Jupiter, father of the gods (baritone) Public Opinion (mezzo-soprano) John Styx, servant of Pluto (tenor) Orpheus, a musician and husband of Eurydice (tenor) Setting and story summary Orpheus in the Underworld is set in ancient Greece, on Mount Olympus , and in the Underworld. Act I The house of Orpheus and Eurydice in the countryside near Thebes. Public Opinion sets the scene for the ensuing drama: Eurydice is dissatisfied. Her husband, Orpheus, is obsessed with music, and she wishes to have a more attentive admirer.

In fact, she has already taken a new lover, the shepherd Aristaeus (the mortal disguise of the god Pluto, ruler of the Underworld). When she is mortally wounded, Pluto reveals himself, and the two go happily off to the Underworld. Orpheus is pleased with the outcome. Unfortunately for him, Public Opinion declares that decency requires the reluctant Orpheus to retrieve his wife. Act II Guide to Musical Theatre - Operetta Book and Lyrics by Hector Crémieux and Ludovic Halévy. Music by Jacques Offenbach. Théâtre des Bouffes-Parisiens, Paris - 21 October, 1858 Stadt Theatre, Broadway - March, 1861 (in German) Her Majesty's Theatre, London - December 26, 1865 (76 perfs) - adapted by J.R.

Planché Revised 4-Act version - Théâtre de Gaïté, Paris - February 7, 1874 The first of Offenbach's outrageously funny 'send-ups' of Greek mythology, this is an unashamedly Gallic version of the classic legend of Orpheus's pursuit of his wife Eurydice, who is carried off to Hades by Pluto - much to the annoyance of Jupiter. A highly disrespectful romp, it involves nymphs, shepherds, gods and goddesses, with the fun reaching its climax in the riotous revels of the celebrated "Can-Can". A lively and highly enjoyable show for both performers and audience, with many world-famous tunes. The Story: After the brief overture the curtain rises on a pastoral scene in the countryside around the ancient Greek city of Thebes. Eurydice enters and sings of the shepherd boy Aristaeus, with whom she is having an affair. Eurydice is busy decorating Aristaeus' cottage when her husband, Orpheus, appears. He demands to know what Eurydice is doing. She tells him she loves Aristaeus and adds that she cannot stand Orpheus' fiddle-scraping.

In revenge, Orpheus starts to play his latest 75-minute concerto and completely ignores his wife's pleas for him to stop. Orpheus would love to relinquish Eurydice to Aristaeus, but Public Opinion would not allow it. Instead, Orpheus decides to get rid of Aristaeus and tells Eurydice of the nasty surprise which he has left in the shepherd's cornfield. When Aristaeus appears, Eurydice tries to stop him entering the cornfield, but he ignores her. Eurydice follows him, but suffers a snake bite. Suddenly, Aristaeus turns into his real self: Pluto, Lord of Hades. Eurydice falls, dying, into Aristaeus' arms. Eurydice dies but Pluto brings her briefly back to life so she can leave a farewell note for Orpheus. That done, Pluto takes her down to his underworld realm. Orpheus finds Eurydice's note and, after his initial surprise, realises how pleased he is to be rid of his wife. His joy is short-lived. Public Opinion enters and demands that Orpheus go down to Hades to get Eurydice hack.

Orpheus protests but, mindful of his professional reputation, he grudgingly agrees. The scene changes to Mount Olympus where the god Morpheus (Dr Morpheus) is scattering poppies to induce the gods to sleep. Venus, Cupid and Mars, however, have been up all night. They return home, decidedly worn out. Soon afterwards, Mercury, messenger of the gods, arrives. The young, swaggering god, ordered by Jupiter to investigate the disappearance of Eurydice, comes breezing on to Mount Olympus to tell of his findings. Orpheus enters together with Public Opinion, who wants to ensure that Orpheus does the honourable thing, that is, ask Jupiter to restore his wife to him. Pluto, of course, has lied to Jupiter about the location of Eurydice, whom he is keeping in his boudoir in Hades. She is guarded by John Styx. Styx was the King of Beotia. Now reduced to being Pluto's gaoler, he tries to entertain Eurydice with an account of his royal past. When Orpheus and the gods arrive, Styx locks Eurydice in a back room.

As there is no sign of her, Jupiter puts the abduction question before a tribunal. What he really wants, though, is to have Eurydice for himself and, to that end, he enlists the help of his young son, Cupid. Eurydice is located by Cupid's love police. Jupiter then turns himself into a fly to get past the keyhole of the locked door. Eurydice loves the fly. Jupiter reveals himself and invites Eurydice to meet him at a party on Mount Olympus. Eurydice attends disguised as a bacchante, a follower of Bacchus, god of wine, but Pluto realises who she is and blocks Jupiter's path when Jupiter tries to make off with her. Jupiter again accuses Pluto of abducting Eurydice. When Orpheus and Public Opinion appear, Jupiter tells Orpheus he can take his wife away, but only if he does not look back at her as they go. When Orpheus fails this test, Pluto claims Eurydice. Jupiter, however, takes her away from Pluto by announcing that he is turning her into a real bacchante.

Everyone, except Pluto and Public Opinion, is delighted and the operetta climaxes with the energetic Can-Can, danced by all the gods and goddesses. Principals: 6 female, 9 male Aristée (Aristaeus) otherwise Pluton (Pluto), King of the Underworld Jupiter Orpheus In The Underworld | Offenbach, Jacques | Opera & Operetta | Josef Weinberger Orpheus In The Underworld Composer: Offenbach, Jacques 1819 - 1880 Version: English Version by Geoffrey Dunn Orphée aux enfers (Orpheus in the Underworld), first performed in 1858, is said to be the first classical full-length operetta, and is arguably Offenbach’s most popular work. An irreverent parody of Gluck’s opera Orfeo ed Euridice (1762), and scathing satire on many aspects of French society and politics, the operetta is internationally famous for its risqué galop infernal, popularly known as the ‘Can-Can’. SYNOPSIS: Thebes, ancient Greece.

Eurydice is having an affair with the shepherd boy Aristaeus, and she is busy decorating Aristaeus’ cottage when her husband, Orpheus, appears. She tells him she loves Aristaeus, and that she cannot stand Orpheus’ fiddle-playing. Orpheus, bored of marriage, would love to relinquish Eurydice, but Public Opinion would not allow it. Following Aristaeus into a cornfield, Eurydice suffers a snake bite, and Aristaeus turns into his real self: Pluto, Lord of Hades. Eurydice dies but Pluto brings her briefly back to life so she can leave a farewell note for Orpheus. Pluto takes her down to his underworld realm. Orpheus is pleased to be rid of his wife, but Public Opinion demands that Orpheus go down to Hades to get Eurydice back. On Mount Olympus, Mercury, messenger of the gods, arrives to tell of the news of Eurydice’s death. Orpheus enters with Public Opinion, who wants to ensure that Orpheus does the honourable thing - ask Jupiter to restore his wife to him.

When Orpheus and the gods arrive in Hades, Pluto’s gaoler Styx locks Eurydice in a back room. As there is no sign of her, Jupiter puts the abduction question before a tribunal. What he really wants, though, is to have the beautiful Eurydice for himself. Eurydice attends a party disguised as a follower of Bacchus, god of wine, but Pluto realises who she is and blocks Jupiter’s path when he tries to make off with her. Jupiter tells Orpheus he can take his wife away, but only if he does not look back at her as they go. Orpheus fails this test, and Pluto claims Eurydice. Jupiter, however, takes her away by announcing that he is turning her into a real bacchante. Everyone, except Pluto and Public Opinion, is delighted and the Can-Can is again danced by all the gods and goddesses. Instrumentation Orpheus In the Underworld - The Guide to Musical Theatre Orpheus in the Underworld Book and Lyrics by Hector Crémieux and Ludovic Halévy. Music by Jacques Offenbach.

Théâtre des Bouffes-Parisiens, Paris - 21 October, 1858 Stadt Theatre, Broadway - March, 1861 (in German) Her Majesty's Theatre, London - December 26, 1865 (76 perfs) - adapted by J.R. Planché Revised 4-Act version - Théâtre de Gaïté, Paris - February 7, 1874 Presented at Sadler's Wells, 16 May, 1960 English by Geoffrey Dunn - The first of Offenbach's outrageously funny 'send-ups' of Greek mythology, this is an unashamedly Gallic version of the classic legend of Orpheus's pursuit of his wife Eurydice, who is carried off to Hades by Pluto - much to the annoyance of Jupiter. A highly disrespectful romp, it involves nymphs, shepherds, gods and goddesses, with the fun reaching its climax in the riotous revels of the celebrated "Can-Can". A lively and highly enjoyable show for both performers and audience, with many world-famous tunes.

The Story: After the brief overture the curtain rises on a pastoral scene in the countryside around the ancient Greek city of Thebes. Eurydice enters and sings of the shepherd boy Aristaeus, with whom she is having an affair. Eurydice is busy decorating Aristaeus' cottage when her husband, Orpheus, appears. He demands to know what Eurydice is doing. She tells him she loves Aristaeus and adds that she cannot stand Orpheus' fiddle-scraping. In revenge, Orpheus starts to play his latest 75-minute concerto and completely ignores his wife's pleas for him to stop. Orpheus would love to relinquish Eurydice to Aristaeus, but Public Opinion would not allow it. Instead, Orpheus decides to get rid of Aristaeus and tells Eurydice of the nasty surprise which he has left in the shepherd's cornfield. When Aristaeus appears, Eurydice tries to stop him entering the cornfield, but he ignores her. Eurydice follows him, but suffers a snake bite. Suddenly, Aristaeus turns into his real self: Pluto, Lord of Hades.

Eurydice falls, dying, into Aristaeus' arms. Eurydice dies but Pluto brings her briefly back to life so she can leave a farewell note for Orpheus. That done, Pluto takes her down to his underworld realm. Orpheus finds Eurydice's note and, after his initial surprise, realises how pleased he is to be rid of his wife. His joy is short-lived. Public Opinion enters and demands that Orpheus go down to Hades to get Eurydice hack. Orpheus protests but, mindful of his professional reputation, he grudgingly agrees. The scene changes to Mount Olympus where the god Morpheus (Dr Morpheus) is scattering poppies to induce the gods to sleep. Venus, Cupid and Mars, however, have been up all night. They return home, decidedly worn out. Soon afterwards, Mercury, messenger of the gods, arrives. The young, swaggering god, ordered by Jupiter to investigate the disappearance of Eurydice, comes breezing on to Mount Olympus to tell of his findings. Orpheus enters together with Public Opinion, who wants to ensure that Orpheus does the honourable thing, that is, ask Jupiter to restore his wife to him.

Pluto, of course, has lied to Jupiter about the location of Eurydice, whom he is keeping in his boudoir in Hades. She is guarded by John Styx. Styx was the King of Beotia. Now reduced to being Pluto's gaoler, he tries to entertain Eurydice with an account of his royal past. When Orpheus and the gods arrive, Styx locks Eurydice in a back room. As there is no sign of her, Jupiter puts the abduction question before a tribunal. What he really wants, though, is to have Eurydice for himself and, to that end, he enlists the help of his young son, Cupid. Eurydice is located by Cupid's love police. Jupiter then turns himself into a fly to get past the keyhole of the locked door. Eurydice loves the fly. Jupiter reveals himself and invites Eurydice to meet him at a party on Mount Olympus. Eurydice attends disguised as a bacchante, a follower of Bacchus, god of wine, but Pluto realises who she is and blocks Jupiter's path when Jupiter tries to make off with her.

Jupiter again accuses Pluto of abducting Eurydice. When Orpheus and Public Opinion appear, Jupiter tells Orpheus he can take his wife away, but only if he does not look back at her as they go. When Orpheus fails this test, Pluto claims Eurydice. Jupiter, however, takes her away from Pluto by announcing that he is turning her into a real bacchante. Everyone, except Pluto and Public Opinion, is delighted and the operetta climaxes with the energetic Can-Can, danced by all the gods and goddesses. Principals: Aristée (Aristaeus) otherwise Pluton (Pluto), King of the Underworld Jupiter Orphée (Orpheus), a music teacher Eurydice, his wife ICARUS - pilot of the balloon Note on Principal Characters EURYDICE- attractive and flirtatious. Soprano. CALLIOPE- stately matron, with sense of humour. Mezzo-Soprano. CUPID- the traditional "Eros", god of love; the mischievous "boy" who, with his bow-and-arrow, promotes romances. Soprano.

VENUS- statuesque, rather conceited and sophisticated. Soprano. DIANA- fetching "outdoor-girl" type, with a young-and-healthy attitude to romance. Soprano. JUNO- comedy-personality; rather scatter-brained, and generally in a fluster over Jupiter's infidelities. Mezzo-soprano. ORPHEUS- a personable but somewhat ineffectual young man, rather tiresomely proud of his musical prowess. High Baritone. PLUTO- a smoothly-mature and debonair character. There is a hint of Mephistopheles about him, but he is gay, amusing and completely non-sinister. High Baritone. JUPITER- character-comedian. Pseudo-dignified, he enjoys being King of Olympus and "papa" of the gods and goddesses, who know him to be a wily old rogue with an incurable fondness for the ladies. Comedian Baritone. MARS- burly but not brainy; the hectoring warrior-hero type in manner and appearance, but in reality more the overgrown schoolboy. Baritone.

MERCURY- the traditional youthful and athletic messenger with winged heels and head-dress. Baritone. BACCHUS - juvenile-lead type, preferably dancer; non-singing. STYX- a rather pathetic, gentle character, whose present lowly status is made tolerable only by a wealth of memories. Baritone. ICARUS- the handle-bar-moustache "RAF-type" of the cartoons, ante-dated in terms of Grecian Mythology. Baritone. The Orchestra In this new version of Orpheus in the Underworld, the orchestration has been carefully arranged to meet the requirements of modest or large orchestras. The minimum combination for an effective performance is: Flute; 1st B flat Clarinet; 1st and 2nd Trumpets; 1st Trombone; Percussion and Strings. Thereafter, instruments should be added in the following order: 2nd B flat Clarinet; Oboe; 2nd Trombone; Bassoon; 1st and 2nd Horns and lastly, Harp. The work is liberally cued. In the absence of the Oboe, the 1st Trumpet should play these cues muted.

Oboe cues are doubled in Flute and Clarinet parts where practicable, and the Horn and Bassoon cues appear in Cello, Trombone and Trumpet parts. It is emphasized that a complete string section should be used (1st and 2nd Violins, Viola, Cello and Bass), but Clarinet parts contain many essentiál cues to be played in absence of a Viola. The string parts are bowed and fingered where necessary, and the 1st Violin has all important melody cues throughout. This vocal score carries instrumentation marks for the musical director's assistance. The violin solos in this work have been gathered together in a special book, which can be obtained upon application to the publishers, Josef Weinberger Ltd. Musical Numbers: Can-Can (from the Operetta Orpheus in the Underworld) by Offenbach - Famous & Fun Classics Book 4 - YouTube Can-Can (from the Operetta Orpheus in the Underworld) by Offenbach - Famous & Fun Classics Book 4 Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented.

This feature is not available right now. Please try again later. Published on Aug 1, 2016 Category Offenbach - Orpheus In The Underworld - YouTube Offenbach - Orpheus In The Underworld Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later. Uploaded on Jan 1, 2012 Orphée aux enfers (Orpheus in the Underworld) is an opéra bouffon (a form of operetta), or opéra féerie in its revised version, by Jacques Offenbach. The French text was written by Ludovic Halévy and later revised by Hector-Jonathan Crémieux. The work, first performed in 1858, is said to be the first classical full-length operetta. Offenbach's earlier operettas were small-scale one-act works, since the law in France did not allow certain genres of full-length works.

Orpheus was not only longer, but more musically adventurous than Offenbach's earlier pieces. This also marked the first time that Offenbach used Greek mythology as a backdrop for one of his buffooneries. The operetta is an irreverent parody and scathing satire on Gluck and his Orfeo ed Euridice and culminates in the risqué galop infernal ("Infernal Galop") that shocked some in the audience at the premiere. Other targets of satire, as would become typical in Offenbach's burlesques, are the stilted performances of classical drama at the Comédie Française and the scandals in society and politics of the Second French Empire. The Infernal Galop from Act II, Scene 2, is famous outside classical circles as the music for the "Can-can" (to the extent that the tune is widely, but erroneously, called "Can-can") . Category Orpheus in the Underworld Orpheus in the Underworld Orpheus in the Underworld (DVD) Orpheus in the Underworld (in French: 'Orphée aux enfers') is an operetta in two acts by Jacques Offenbach.

The original French text was by Meilhac and Halévy, and the first production took place in Paris in 1858. It is famous for the good plot and the far more famous music. Outside classical circles, the Infernal Galop from Act II, Scene 2 is widely recognized as the music for the "Can-can". Synopsis Note: Orpheus in the Underworld exists in several forms: Offenbach originally wrote it in a two-act form, then expanded it to four acts with a great deal of filler material, ballets, and such like when it proved popular. The English translations are in a far more confusing state, as several add numbers from other operas, a major translation replaces Public Opinion with Orpheus' mother, and so on. This article lists only songs in the original two-act version (the four-act version is performed rarely and has the same plot), using the names given to them by the D'Oyly Carte Opera Company's 1994 CD. An additional song included on that CD from the four-act version ("A skip, a hop") is ignored for consistency.

Act I, Scene 1: Near Thebes We open with a melodrama (Introduction and Melodrame) in which Public Opinion explains who she is, setting herself up as the guardian of morality. She seeks to rework Orpheus and Eurydice - who hate each other - into a moral tale for the ages. However, she has her work cut out for her: Eurydice is in love with the shepherd, Aristaeus, who lives next door ("Ah when a woman's heart is yearning"), and Orpheus is in love with Chloë, a shepherdess. When Orpheus mistakes Eurydice for her, everything comes out, and Eurydice insists they break the marriage off ("So you confess?"). However Orpheus, fearing Public Opinion's reaction, torments her into keeping the scandal quiet using violin music, which she hates. We now meet Aristaeus (who is, in fact, Pluto) keeping up his disguise by singing a pastoral song about those awful sheep ("Hail! My name's Aristaeus"). Since Pluto was originally played by a famous female impersonator, this song contains numerous falsetto notes.

Eurydice, however, has discovered what she thinks is a plot by Orpheus to kill Aristaeus, but is in fact a conspiracy between him and Pluto to kill her, so Pluto may have her. Pluto tricks her into walking into the trap by showing immunity to it, and, as she dies, transforms into his true form (Transformation Scene) Eurydice finds that death is not so bad when the God of Death is in love with you ("I thought that death would be more painful"), and so keeps coming back for one more verse. They descend into the Underworld as soon as Eurydice has left a note telling her husband she has been unavoidably detained (Descent to the Underworld). All seems to be going well for Orpheus until Public Opinion catches up with him, and threatens to ruin his violin teaching career unless he goes to rescue his wife. Orpheus reluctantly agrees ("Come, come, come"). Act I, Scene 2: Olympus The scene changes to Olympus, where the Gods sleep out of boredom ("We're fast asleep"). Things look a bit more interesting for them when Diana returns and begins gossiping about Actaeon , her current love ("When I go riding").

However, Jupiter , shocked at the behaviour of the supposedly virgin goddess, has turned Actaeon into a stag. Pluto then arrives, and reveals to the other gods the pleasures of Hell (Entrance of Pluto), leading them to revolt against horrid ambrosia, hideous nectar, and the sheer boredom of Olympus ("To arms, you gods and demi-gods"). Jupiter's demands to know what is going on lead them to point out his hypocrisy at great length, describing - and poking fun of - all his mythological affairs ("When you seduced the fair Alcmena"). However, little further progress can be made before news of Orpheus' arrival forces the gods to get onto their best behaviour (Finale, Act I). Pluto is worried he will be forced to give Eurydice back, and, after a quotation from Gluck's Orfeo ed Euridice sends the gods to tears, Jupiter announces that he is going to Hell to sort everything out. The other gods beg to come with him, he consents, and mass celebration breaks out at this holiday. Act II, Scene 1 Eurydice is being kept locked up by Pluto, and is finding life very dull.

Her gaoler, a dull-witted fellow by the name of John Styx, is not helping, particularly his habit of telling, at the slightest provocation, all about how he was King of the Beotians until he died. But if he had not died, he would still be king ("When I was King of the Beotians").1 Jupiter spots where Pluto hid Eurydice whilst being shown around by him, and slips through the keyhole by turning into a beautiful, golden fly. He meets Eurydice on the other side, and sings a love duet with her where his part consists entirely of buzzing (The Fly Duet). Afterwards, he reveals himself to her, and promises to help her, largely because he wants her for himself. 1 Beotia is a part of Greece that Aristophanes fills with idiotic rural rubes - rather appropriate for this Styx. Act II, Scene 2 The scene shifts to a huge party the gods are having in Hell, where ambrosia, nectar, and propriety are nowhere to be seen ("It's party time in Hell").

Eurydice sneaks in disguised as a Bacchante (Hymn to Bacchus), but Jupiter's plan to sneak her out is interrupted by calls for a dance. Unfortunately, Jupiter can only dance minuets ("How I love to dance") which everyone else finds boring and awful. Things liven up, though, as the most famous number in the opera, the Infernal Galop (best known as the music of the Can-Can) starts, and everyone throws themself into it with wild abandon. Ominous violin music heralds the approach of Orpheus (Entrance of Orpheus and Public Opinion), but Jupiter has a plan, and promises to keep Eurydice away from him. As with the standard myth, Orpheus must not look back, or he'll lose Eurydice forever. Public Opinion keeps a close eye on him, to keep him from cheating ("Look ahead and not at your wife"), but Jupiter throws a lightning bolt, making him jump and look back, and so all ends happily, with a reprise of the Galop. Orpheus in the Underworld" (CD) List of Numbers Note: The names vary widely between translations.

Consult the plot synopsis for more information on individual songs. Act I, Scene 1 Introduction and Melodrame (Public Opinion) Couplets, "Ah when a woman's heart is yearning (Eurydice) Duet, "So you confess" (Orpheus, Eurydice) Pastoral song, "Hail!

My name's Aristaeus" (Aristaeus (Pluto)) Transformation (Aristaeus (Pluto) and Eurydice) Couplets, "I thought that death would be more painful" (Eurydice) Descent to the Underworld (Pluto and Eurydice) Duet, "Come, come, come" (Public Opinion and Orpheus) Act I, Scene 2 Entr'acte and Chorus, "We're fast asleep" (Chorus of Gods), Song, "When I go riding" (Diana) Entrance of Pluto (Orchestra) Revolution Chorus, "To arms, you gods and Demi-Gods" (Chorus, Pluto, Jupiter) Couplets, "When you seduced the fair Alcmena" (Minerva, Diana, Cupid, Venus, Pluto, and Chorus) Finale, Act I, "He is coming, how upsetting" (Pluto, Public Opinion, Orpheus, and Gods) Act II, Scene 1 Couplets, "When I was King of the Beotians" (Styx) Fly Duet, "I'm feeling all lovely and shivery" (Jupiter, Eurydice)

 Act II, Scene 2 Infernal Chorus, "It's party time in Hell" (Chorus) Hymn to Bacchus, "I saw him on a rock" (Eurydice, Chorus) Minuet, "How I love to dance" (Jupiter).

Infernal Galop (Chorus) Entrance of Orpheus and Public Opinion (Pluto, Eurydice, Jupiter, Public Opinion, Orpheus) Finale, Act II "Look ahead and not at your wife" (Ensemble) Recordings The operetta has been recorded many times. There is a historic recording made in 1951 by René Leibowitz and the Paris Philharmonic available on compact disc (REGIS RRC 2063). Michel Plasson recorded the work with Mady Mesplé in 1978 (EMI CDS7496472), and in 1999 Marc Minkowski conduted the operetta in Lyon, with a strong cast including Natalie Dessay, Laurent Naouri, Jean-Paul Fouchécourt, Véronique Gens, and Ewa Podles (EMI 0724355672520).

Minkowski is also the conductor on a DVD released in 1997, again at Lyon with Natalie Dessay, Laurent Naouri, and Jean-Paul Fouchécourt, as well as Yann Beuron and others in a production by Laurent Pelly (TDK DV-OPOAE). Orpheus in the Underworld in popular culture The Infernal Galop from Act II, Scene 2 is famous outside classical circles as the music for the "Can-can". Saint-Saëns borrowed the Galop, slowed it to a crawl and assigned it to the bass violin to represent the tortoise in The Carnival of the Animals. References 'The Opera Goer's Complete Guide by Leo Melitz, 1921 version. The titles of the songs used are from the D'Oyly Carte Opera Company's 1994 production of the opera, as given on the liner notes of their CD.

Retrieved from "" OFFENBACH, Jacques Offenbach, Robert Hanell, Dresden Philharmonic Orchestra, Leipziger Rundfunkchor (Leipzig Radio Choir), Hermann-Christian Polster, Friederike Apelt, Gundrun Fischer, Hannerose Katterfeld, Jutta Vulpius, Karl Friedrich Holzke, Peter Schreier, Ruth Schob-Lipka, Werner Enders, Wolfgang Hellmich - Orpheus In The Underworld - Amazon.com Music To view this video download Flash Player Orpheus In The Underworld Audio CD, February 8, 2010 "Please retry" Note: This product is manufactured on demand when ordered from Amazon.com. [Learn more] See all buying options $9.92 & FREE Shipping on orders over $49. Details In Stock. Ships from and sold by Amazon.com. Gift-wrap available. Customers Who Viewed This Item Also Viewed Page 1 of 1 Start over Page 1 of 1 This shopping feature will continue to load items. In order to navigate out of this carousel please use your heading shortcut key to navigate to the next or previous heading.

3.5 out of 5 stars 7 Special Offers and Product Promotions Orpheus In The Underworld by OFFENBACH Track Listings 1. OrphÃÂ©e aux enfers, operetta: Overture 2. OrphÃ©e aux enfers, operetta: Und wieder geht ein Tag zu Ende 3. OrphÃ©e aux enfers, operetta: So ist das? So? - Ja, mein Coce! 4. OrphÃ©e aux enfers, operetta: Du VerrÃ¤ter, AttentÃ¤ter 5. OrphÃ©e aux enfers, operetta: Wohlan! Jetzt ist es Zeit 6. OrphÃ©e aux enfers, operetta: Rafft euch auf! 7. OrphÃ©e aux enfers, operetta: Eh hopp. Eh hopp. Platz dem Merkur! 8. OrphÃ©e aux enfers, operetta: Um die Alkmene zu verfÃ¼hren 9. OrphÃ©e aux enfers, operetta: Ich kann es nicht lÃ¤nger ertragen 10.

OrphÃ©e aux enfers, operetta: Als ich einst Prinz war von Arkadien 11. OrphÃ©e aux enfers, operetta: Willst Du partout dir ein Weibchen errigen 12. OrphÃ©e aux enfers, operetta: Hoch Pluto und sein Feuerwein! 13. OrphÃ©e aux enfers, operetta: Jung wird man dabei! Product Details Audio CD (February 8, 2010) Number of Discs: 1 Jacques Offenbach — Orpheus In The Underworld — Listen, watch, download and discover music for free at Last.fm greatest classical Orpheus in the Underworld is an opéra bouffon (a form of operetta) by Jacques Offenbach. The French text was written by Ludovic Halévy and later revised by Hector-Jonathan Crémieux. The work, first performed in 1858, is said to be the first classical full-length operetta.

The "Infernal Galop" from Act II, Scene 2, is famous outside classical circles as the music for the "Can-can" (to the extent that the tune is widely, but erroneously, called "Can-can") Similar Tracks

Question: Who wrote the operetta 'Orpheus in the Underworld'?
Answer: Offenbach